The wurlitzer's amplifier and preamp were re-capped in an attempt to save the amplifier, but about half way through the sampling process the amplifier died, which eventually killed the power transformer. The preamp, amp, and power transformer were all replaced and sampling continued. Well sampling the bass notes, it became apparent that the Wurlitzer's built in speakers also needed to be replaced.
Most keys on the Wurlitzer were mostly in tune, but a few keys needed fine adjustment, and F2 needed to be replaced completely, as our attempt to "add solder" to the lead tine, in order to lower the pitch, failed completely. The Wurlitzer samples were processed with EQ in order to cut a lot of the low frequencies out, in order to better sit in a mix as a more midrange instrument, as the bass frequencies were heavily dominant.
This was the most temperamental instrument we have sampled thus far. This is to be somewhat expected, as a Wurlitzer 200A contains numerous electronic components from the 1970's that were not designed to last 40+years, such as electrolytic capacitors. Compared to the passive design of a Rhodes piano, there's simply a lot that can go wrong, which is why we recommend purchasing a Wurlitzer sample library!
Some simple linear distortion was added to the Kontakt versions, as well as some built-in reverb. A smooth button was added to dial back some of the harshness of digital linear distortion. The Kontakt version of Adam Monroe's Mark Wurlitzer is cross-platform, and is maintained by Native Instruments, all the programming and effects being done through them. Some simple scripting is done by us.Features:
* 64 Note Range From (A1 - C7).
* DI And Amp notes , Reverb , & Distortion.
* 10 Velocity Layers , 3-note Round Robin.
* 5 GB of Sample Data.
* Full version of Kontakt 5 needed.
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